Litt’s small-scale paintings are a perfect fit for the
intimate confines of Valentine’s back hallway. These understated contemplations
about the nature of isolation don’t feel withdrawn, they just need their own
“space”.
Indeed, the depth of Litt’s work stems less from concern for
a graphic interface, than with her staged figure’s intense psychic relationships.
The subdued dramas play out on the picture plane with little fanfare, and seem
oblivious to the intrudingly voyeuristic stares of her audience.
The artist likes to use gridded veils to further her point
about separation and meditation. Then a heightened chroma surprises with a
sudden burst of cautious enthusiasm, drawing us in to her private reverie of webs
and curtains.
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